黑白画册前言

　　艺术创造了另一个世界，仿佛是一个可以期待的许诺。但那个世界其实是个永远的梦。艺术超越现实，也不仅是想象的产物。它是人内心的影子。
　　Painting has the power to create a parallel world, like a promise that everyone can look forward to. Yet that world appears forever a dream. While art is certainly beyond reality, it is not merely a product of imagination – it is a reflection from the heart.
　　自有人类，艺术与现实就在进行着不可知的游戏。对我们凡夫俗子，犹如走不出的迷宫。
　　The unexplainable game between art and reality dates back to the very beginning of humanity, like an inescapable maze to ordinary men like ourselves.
　　事隔两年，再次见到薄云的近作。
　　After two years, it is a pleasant surprise to see Bo Yun’s new works.
　　我知他对事物的领悟力颇强，所谓“世事洞明”者。他对宋元山水意境的领悟，对人文主义的西方艺术的领悟都在潜意识影响着他的抽象油画的风格（图1.2.3.4）。
　　I know him as a man of superb perception. The characteristics of his abstract oil paintings integrate his appreciation of landscape of the Song and Yuan dynasties, as well as his understanding of humanism of the Western art scene. (Figure 1.2.3.4)

1.<<辉煌的时代>> 160X70X(3) 2005
　　<Glorious Era>

2.秋天的阳光 The Autumn Sunshine160X220 2005

3.雾锁江南 Fog Over Southern China160X70X(3) 2006

4.我是光的使者 Messenger Of Light 100X120 2006　　

　　说到抽象绘画，常听到“看不懂抽象绘画”的说法。的确，抽象絵画不是再现对象,而是表现事物表象背后的精神，即事物给人的精神的感染。这种表现也通过形象，却不是具体的形象，具体的形象只能表现具体的感受。而抽象绘画企图表现的精神则更宽广，更形而上。是的，抽象绘画的语言和人心灵深处的冥想更为接近。不是所有的人都常内省自己的灵魂。抽象绘画是给有文化艺术修养的人看的。当然，并不是所有“抽象绘画”都值得留意,象所有行业一样，这个行业也鱼龙混杂，泥沙俱下。
　　We often hear the comment that abstract paintings are impossible to understand. Indeed, abstract paintings are not re-creations of tangible objects. Yet they re-create the spirit behind the objects, which also represent the feelings they inspire. The abstract re-creation is also based on an image, yet not a concrete image, as for concrete images only project a specific kind of feeling. The abstract attempts to convey a broader and more metaphysical collection of feelings. To better put it, the abstract language only resonates with one’s inner whisper during a deep meditation. Yes, the abstract is for the cultured and sophisticated souls who often choose to self-reflect. Yet not all abstract paintings are noteworthy. Like everything else, there is a mingling of good and bad in the space of the abstract.
　　我见过几类抽象绘画：偶然效果式；世界上本来有许多符合绘画美感的自然痕迹：墙皮水渍，石纹，木纹......都是自然的画面。于是一干抽象画家便把颜料泼洒到画布上，任其流淌，或大笔重色恣意狂涂，然后择其中似画者。其始祖可从波洛克算起，国内跟进者若干。这类画不难看，做装饰也好，只谁都可以复制。更主要是这类作品仅效果而已，少感人的精神。图案式；自蒙德里安之后，有一种冷抽象从西方发端。这种理性的艺术，常似一丝不苟的图案，或纹样设计。平面，重复，单调。曾有一美国画廊主说她会有时为这种画感动流泪。真是匪夷所思。抒情抽象；赵无极，朱德群当属此类。这类抽象才是中国人可以接受的抽象艺术。他们不是无形象，而是寓形象于笔触，光影色调之中。画面所造之意境与传统绘画无异。换句话说，他们扩大丰富了绘画的表现手段，而不是颠覆你关于艺术的概念。他们的画面能调动观者的感情。欣赏此类作品与欣赏传统绘画的审美心理活动并无不同。反而，可能引起你更多的联想。
　　I have seen a few types of abstract oil paintings. First, the Accidental Effect. There exist many works of nature beyond the bar of artistic beauty, such as water stains on a white wall and grains of rock and wood. Hence, there come groups of abstract painters who splash paint onto plain canvas, let it flow or apply recklessly heavy brushstrokes, and then pick the most painting-like ones. This technique dates back to Pollock and there are plenty followers around. Paintings of this type look decent, and are good for decoration, but anyone can copy them. More importantly, they often lack substance and the ability to touch souls. Second, the Pattern. This is a kind of cold abstract originated from the West, exemplified by Mondrian as a form of rational art, usually consisting of meticulous patterns, plain, repetitive, and monotonous. I was absolutely astounded when an America gallery owner told me she was sometimes moved to tears staring at such paintings. Third and last, the lyrical, a form of abstract more readily acceptable to the Chinese audience. Zhao Wuji and Zhu Dequn belong to this group. Instead of being figureless, this kind of abstract paintings use brushworks and light tones to create artistic conceptions that are no less concrete than traditional painting techniques. In other words, it enriches the ways of artistic expression, without disrupting the audience’s original concept of art. This kind of paintings stir the pond of emotion of their viewers, in very much the same way that traditional paintings do, only with the potential to bring the thoughts of the viewers further.
　　我以为薄云兄正是此类抽象绘画的杰出代表。与赵无极，朱德群老一辈抒情抽象不同的是，薄云的画融进了许多水墨画的语言，用笔的力道，墨色丰富的变化，画面空白的巧妙运用，无焦点的透视，等等。这正是东方画家得天独厚之处。
　　I believe Bo Yun is an extraordinary representative in last kind of abstract paintings. Unlike the distinguished older generation lyrical abstract artists Zhao Wuji and Zhu Dequn, Bo Yun’s works incorporate many characteristics of the ink painting, including its brushstrokes, rich varieties of the ink color, smart use of blank space, and non-focus perspective. This unique technique and perspective only comes from an artist from the East.
　　严格说，薄云的画并不抽象。氤氲墨色中，山峦起伏，疾风劲草，或雨霁，或雪晴。又像是自然的写照。但我看，他已经越过了具像与抽象，他眼里已经没有具像与抽象的区别，独留下从变幻无常的现实中抽离出来的本质。-----这世界上除了人眼看到的，还有一个只能用心去体会的世界。
　　Strictly speaking, Bo Yun’s works are not that abstract. Among the dense ink, you can see ranges of mountains, gale blowing over grasslands, landscape after a drizzle, or rising sun shining on land covered with thick snow, just like portrayals of nature. As far as I am concerned, he has gone beyond the line separating the concrete and the abstract. They make no difference to him anymore, instead what he sees is the everlasting essence stripped out of a forever changing reality. That is a world beyond what one sees with his own eyes – a world only visible to the heart.
　　2014年初，他重拾水墨，画了一些水墨山水（图5.6.7.8）。
　　At the beginning of 2014, Bo Yun his revisited Chinese Ink by painting ink landscapes (Figure 5.6.7.8).

5.秋风 145x37 2014 

Wind In Autumn

6.秋风秋雨图 137x33 2014　

Wind And Rain In Autumn

7.西山暮雨143x37 2014 

Twilight Rain Over West Hill 

　8.秋郊访友140x34 2014
　　At Friend’s Cottage In Autumn　

　　这些山水较他“星星美展”时期的水墨有所不同（图9.10.11.12）。
　　These new ink landscapes are different from his ink paintings during the “Star Exhibition” period (Figure 9.10.11.12).

9.泊50x50 1979 第一届星星美展
　　9. Lake50x50

10.渔村 50x50 1979第一届星星美展
　　Fishing Village 1979 First Star Exhibition

11.水乡50x50 1979第一届星星美展
　　Watery Land 1979 First Star Exhibition

12.啊 长城50x63 1979第一届星星美展
　　Ah! The Great Wall 1979 First Star Exhibition　　

　　传统的立轴，浓重的墨色，远山如黛，天或初晴，日或黄昏，云气氤氲。近处则修竹掩映，舴艋随波。相比30年前的水墨，情调依旧，然景物变矣，更恢宏，更深远，更辽阔了。
　　He used traditional vertical scroll of dense ink, with distant objects as black mountains, sky just clearing up, the sun at twilight, or thick clouds. Close-ups are depicted with shades of bamboo and boats on waves. In contrast with his ink paintings from 30 years ago, while the sentiment remains the same, the objects and landscapes are now broader and deeper.
　　接着，他开始在画布上，用黑白两色涂抹自己心里营造了几十年的那个世界。不听命任何人，不为任何人，不受自己意识到的章法的束缚，只遵从自己的内心。一年来我悄悄的看着他偶尔发给我的图像，不做一声，怕我的意见干扰了他表现自己。
　　Then he began to put on canvas the world that he has been tirelessly building in his mind for decades, using only black and white. These paintings are for no one, catering to no one, and constrained by no one, but only a pure reflection of the world in his dream. For the past year, I only quietly admired the photos he sent to me from time to time, without offering any feedback, so as not to impose my thoughts on his creation.
　　如今，他的黑白世界呈现在我面前。那些画面上，时而浪潮汹涌，时而寒风凛冽，时而阴云密布，时而细雨初晴。那些景物深刻动人，深厚而宁静。如同远方地平线边传来了交响乐声。
　　Now, his world presents itself in front me, in only black and white. It feels like walking through one powerful scene after another - surging tides by the ocean, a chilling storm, dark clouds overcastting the sky, and the sun emerging from a light rain. These scenes are deeply moving, profound, and peaceful, reminding me of a symphony from the distant horizon.
　　重要的是，无论他的油画还是水墨画，几十年来，他不停的在探索新的语言。但他的情调和意境不变。始终表达着在深沉安静的氛围中对宿命的思索与抗争。他的画，让我们感到了我们心灵深处那个鼓舞着我们积极向上的，神圣而神秘的力量。
　　Most importantly, while keeping the same sentiment and artistic conception in both ink and oil spaces, over the past few decades he never stops exploring new languages to express his art. His paintings have always exhibited his peaceful but determined struggle versus fate, resonating with the mysteriously sacred force inside every one of us, encouraging us to stay positive and march forward.
　　每个人的作品都带有自传性质，作品不会说谎。
　　Everyone artist’s work speaks about the author like a biography – paintings do not lie.
　　我无需再去分析他艺术的独创性及其艺术价值，明眼人一目了然。
　　It is not necessary for me to write about the originality and value of Bo Yun’s art. They are crystal clear to the right beholders.
　　画给自己看，画给知音看，话便是多余的了。
　　Paintings are for the pleasure of people who understand and appreciate. Any more words will be redundant.
　　Arthor Lee (诗人，艺术评论家）
　　Arthor Lee (Poet, Art Critic)